Literary and filmic renditions of war are often organized around expressions of heightened sensation and aptitude. Sensation functions as a kind of other or alternative to trauma, a way of figuring the extreme experience of war in terms that, like trauma, separate the soldier from the ordinary citizen. At the same time, civilian texts by writers as diverse as H. G. Wells, Virginia Woolf, Rebecca West, and Kurt Vonnegut have explored the way sensation and other forms of exaltation, including the sublime, might also characterize the civilian experience of war. This chapter explores the close connection between the motifs of sublimity and sensation in war with other related principles that have characterized twentieth-century literature, considering both combatant and civilian texts. The chapter argues that the moral culture of the twentieth century requires that we acknowledge the shared experience of war across combat and non-combatant lines, and second, that the slippage between these two, and the rendering of exaltation as a value that can be abstracted from war, carries its own moral risks.

The notion of an ‘aesthetics of war’ immediately raises questions about how artistic cynosures concerned with order, beauty, and the discernment of taste can be applied to the ignoble horrors of modern warfare. For that very reason, modern literature has striven to find aesthetic alternatives to the mandates of direct representation. In the first half of the twentieth century, this striving is starkly visible, as an aesthetics of realism (practiced by the War Poets) vies with an aesthetics of indirection (evident in the modernist works of Yeats and Woolf). In the second half of the century, in the shadow of nuclear terror, there is a turn to the satirical and the scabrous – most notably, in the trio of American World War II novels that defined the field for a generation or more: Catch-22, Slaughterhouse-Five, and Gravity’s Rainbow. Subsequently, wars in Vietnam and Bosnia prompt writers to use field reportage in resourceful, post-realist ways, sometimes echoing modernist poetics. Examining the aesthetic changes noted above, this chapter shows how the formal conundrum of representation has been illuminated, engaged with and, ultimately, used to productive ends in modern war literature.